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    528 views29 pages

    Pimboon Rotated

    Uploaded by

    api-254774586

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    PROCESS. 2 WATEL COLL NT SOMETHING NEW TO ME.1 KNOW THAT WHEN THE Paren Aspsopes THe | > WATER, IT GEM OUNKLED. K NAVIN THEN TAUGHT ME A NEW TECHNIQUE I'VE NEVER KINO BEFORE: THE STRETCHING TECHNIQUE. CWMSKING). THS G WHEN YOU APPLY WATEL THOROUGHLY [> To GOTH SIRS OF THE PATER AflOUND 9-3 TIMES, WAITING Fok mT To Plu IN betwen > WIEN SWITUMING SIDES, vt ALSO LEALNT To Mou THE PATER AS To NOT WINKLE IT 2 APPLYING WATER WILL Nike wHE PAPEL EXPAND To IT MAYIMM SIZE, 50-17 pogintt 3 ANKLE UATE on (HH BEING WELD Wet THe © Mf MENT bETVEN to Its > 'NOLIMAL” SITE, THS G SHWE NEW KNOWLEDhE WHIILM soLVEd THe PROBLEM OF lopINKLy QAPER1 CAN APPL AND UNE THIS TELHINIAUE NEXT TIME | WE LATERWOLOR » ONS ORE, 50 SKETLHED fumnw. (LOL -$A51C SHADES. THE MAPCR WS A wRAGLE! So BBY To Mme THE ————————— ML ee BA SKILL | ENTOYED usin. AT FBT, | wate -LoL0 OD WE (alone, THEN SOME TEMNLS, THEN ADgEO Ee. MS THe (Xted Uy QEMLY WOUUH, 1 HAD To PRES aueTe HM 2 AD GARPEN JHE FENUL QUITE OFTEN. ALieuun ( MONT Ge TR THE GAGS, | THINK TRAT ERECT NSE THE nen, GETIEL- IT ADDED soNe (NEEDED nie” O OLEATE UMENCION + (ELM PN © (NE IT <> FLAT, | GOT WWFLUENCE! fy & THe STUY Lame tei sumer ConwaDan: § MAGE TRANSTER DONT HAVE SAMDRDAGE, Jo VED fn ALTEL: 6 nieve (3) eso AUR Micha INSTEAD. nice WELL. THEN | OUMUED THe FLINT Wis GEURUSE | KemerLED THAT HAMNG sort j 4 DUANE ATE ty Wis UMINTELETING, AND CUAL TT UD RMT HE hele wuWe! AND (ETH Sida” RETECL, ge PPT AOTE | WukCD IT OFF wrth WATE Nutrt LEE THE SING, Tree Wis a THN wtTE (2) Leet LEFT, Writ torent iMag A Lat AND IME oT UNATTENIVE|Too BALE (SINT Une 11), se (TRIED Te Mh TT oFe watt 4 POHSSHOAND IT We PPLY WoL, YOWtUCE, Tome MEL IT Tone Te INK veTH 0, LEAVING SPLO TEMES (A.A ter fouaw Neu Boo NUKe Tere ite UUH TOY 501 Pent ANS FOUND OM THAT | OULD WE ULES, Hi TWD OTD. UM WE THe YN (HORE SATULATET, Se THAT Ls A Ge WING (3) NOT WME WEN \ Yo Wriee Tei (LL AUN) WIE GLOS 9 QUMANUE TT to SOLVE THE MonUEM. ARUING THE GOSS a ee UGUAW, fut TD OKA (NEG Lol ace IT wy Alo PEALLY OILY, S\ SPMitD A TH Late oF Crmwe(l ovo IT. eee HEELLLET LLL LS Fa altel finmenclon ts SePeMnsiien ScROREHAND, INI. tt WeeteD THe SAE WAH, AND HW DEAL WeLL HOWEVER WHEN THELE WASNT ENMOVLH WATER, THE INK DON'T GEALLY LIE, So mons WATER HAD To DE AmMED (5). Wihlenmene wie wes AmmeD, IT AVANED OUT CKE (7), WING 1 LIKED. Howgvel, | miso BéeniteD Wit AFTER A FEW MINUTES THE IN WOU FADE DeMTiCRULY, 3 S01 AMD eI ORE INS IN, tum Ane Poon, ACER fADtzn ; l (9-0 Then, I BAHU) | used A WMETIE Knire G+) Sieaeh to ae TD SPREAD THE AUPVLIL. AT abet wth VALVE | UKeD. Geina fo Ue # BASH, het AFTER SOME, MUL Tete MEND | MED THE QETIE KNIFE AND 1 UKE THE Wot TOTNE OF Tw | UCD TT E THE FINKL Diet Too. Tee tH Tees HE SEEN IN (4), vO 1 TED MAKE THE WNT PuoW THe SAE WM A THE WINDOW To SOLVE THE NIRA TING /FATING plobLat CWE THE CED! won't napus IN WITH THe TLansreteed imate), LAE RINT Ove It in hopar THAT 1 WOLD Ait mS fF Weep THvyi Tove, Iv WHat 11 Di, $e | AM Happy Bu (7.1 Ago AAPLIED THE Same TELANIGUE oF OVELLAPAFG IN (2), But 1 Aso WED EE Wee TO MAKE [1 RLEND IN Eye mote. ar eit, the Serena OF Tre Two eee Leak ©, oT THEN BY OAT Mick WEL IT OH), IT MDE A KE BLEND THEN t | a eR 2 y MASE 1 QveM mote smoot AND ‘PapIna', BY | 2 ANNE THE Aunt New 82D PREAALY. etm, here z é 2. SEE What veutvinve Wonks (ite | bp DEPORT HAND: ee Mens aan ene ee fo FOPLY To TS ScTUAION AO NE MopLEM WiTke GAINED KMwLEue. OK: T ; BESO vied tire Save coe, ‘4 i : OTHE & tupineD cle POR TIE PURPLE ST Wwe WA EE | ANCARTED. IT DAVE = AW WAT Timo BONG ObiNENDCIN). Ww TE ANT Ba tte UX, $0 LL nyt 7 wan west Sime ve, a 1 Intentio To uiy and combine the knowedge of traditional Thal structures sth the aenc techniques learned challenges: Sealy making the paling pretty and use light source ane eet make it flat (prevented by pusting the elements afd Composition Sack), Controling the brush and working with fhe canvas wasa challenge, £29 Light source wasn'thard, but Sometimes | lest where Iwas ang it was hard to manipulate the painting to follow it. Making 't not flat was also 2 huge protiem | encountered, | wast used 10 having HYerS o% Biferert amounts of thicknesses of paintfvalue tone etc 301 lust did everything in the same value ane it made everything val and eliminates the ‘sistance’ factor, and because of thet, my painting really si How | overcame It MeN Jamel ghtscuree by forcing myself touse ferent tones ana values more also overcame the brush or tanvas problem by finding better brushes, and then bring! Process undertook to Review ane Refine each 2 ust looked and observed If anything neeses adition/¢ relevant, eid this few times. As the painting wes small 1d sng my ov | ried to evercome the laess problem, Sut! see rig succeeded thatwell|iies by making the ach reel ser, the structures wih some details ond larae? sen tne Budcha realy light witndry-bnuch to mace nave some detl but not too much (have a het, mare sored bod feeing), and the Dacaround ust some ight cinpng wash rake Mt meve othe back othe mesmum Pon's know how sie int worked ou, but atlezst there 2re some layers. - S id aot need. H sow the necessity, | dee things thet were int spend too much time reviewing and refining Hust aasey suf he making the arch darker, doing the sky afew tes, adding mare shadows/shece, et. Emotions Present: hist | ‘doing | ust thought about new | can Use th te ciferentshils in efferent areas. | wasn’t aartcuarly Ae aes ane morcng not wes | Frstates (maybe whe” the rushes were ay hard ia work wh, Dot overall dla’ aly feel anything sign fica. Conceptual Question: How challenging 1s Ht to ‘maintain traditions) cotture in a modern, urban Cevronment? How has tradlionst Thal zesthetic beer influenced by globalization? In can be somewnat challenging to maintain traditional cuture in a modern envionment, eszecilly when everyone turns to someting newer, aeter, more sleek nd turns away from the trastional styles which may De move hard to cant aue folowing king 2s € may be move Inefficient. Therefore, | think that tradtonal stiles are Howly fading enay to more mocern ways, even if We or’ realize it. The urban environment kind of engulfs the old ones, However, there are vedtoral Thal esthetics that are stil remaining, some have been destroyed by slobalzation, but some have been flourishing because of it, Globslzaton brings with more ‘common’ ways that are “bette” and more Iprefered), which incudes stuff Fee buildings and transportation that we use excessively ~these are things that nave overtun traciional aesthetics tke having @ brown/stone/wood tene, and making it more stee! and whe. Therefore, zesthedes and percention have deen Changed greatly, However, some places 20 intentionally make builcings sesthet.caly Thai to attrect foreigne's thet frequertiy vist because of globalzation. ‘This Js shown in my artwork how modern styles are Slowly replacing aiden styles and now the trectional ones are facing Debatable: Hes the peak of Thal aestnetic cufture come snd gone? Has Thailand's tourism industry ‘Erninished the integrity of Trai art ane eulture? ‘his aiid is suey not the pesk of Thal aesthetic and Colure, mainly because there are so many outside Irfluences from the tourism industry, However, | doa! hink it has been gore entirely. Thailand's tourism industry may have ciminished some integrity, however, | feel that she indusiry has also helped it. Tourism brings vn foreigners, and foreigners come beeause they ike the | ure, As a result, more and more tradition! places are being. visked and spread onfine (pietures, maa programs, ete), and vaciton soreads/is more practiced/exposed. Like, with more foreigners vsting Prarkets and cultural gaces, drives the local peon'e to pork move and cpen more markeis/ake setter care of the locations In hopes of attracting more people ~ is lurch they dof there were no tourists to vist. then the Ipcals might not take as much care as they do now. AsO, some places intentionally iy te merge modernization and traditions to create something new in hopes of enging. in more people, so that [5 a for of advancementin the integrity of Thal arand culture, and fo i realy n't diminishing after a), This can also be een inthe fest painting, where structures were painted: irovas petnted because we visted the sites, whlch are toll prevalent, so there's that Intention: | wantee to show haw modern thoughts and styles hove Slowly baen eating into vadicoral anes, esuline n tre ditonal ores facing away and being forgotten. | ‘wanted to incorsacate contemerety styles and | dl so by merging the two concepts. Challenges: AL Fst | Eda realy know how to make the te fade in and merge with each other, so that wasa challenge nae When 1 Taured ot now to do 4 doing ‘property and ret was annoyer challenge that came eonseque n'y. Another proolem was trying to rub out seper without taking everythirg out, and also tying ta get ie of the eceSs, smal, write pieces trat made the image fade (recess How | Overcame It | overcame the fading and merging problem by transferring the image into the teditonal stuf drawn, and then covering the ridge ue with some int, gant and EE (described n process. To overcome remavirg the pager, lused 2 toothbrush and the goss iso described in further detallin the process. | din't realy have problems with the time Factor, ou | worked ahead of time by spending a wiiale day working on tinstead of being spread cut (| work mare ficiently thet wey and |alza save time in he long run). Emotions Present: When | was doing this plece;eeally gave me the time and enance to reflect what wes actualy really hapzeningin present-cay Thalland's society. Ever though it’s net ebvious, it made me think that things are changing, even we Sort realizeit In regards to how | was feeling whils doingit | was neither Frustrated nor everly enthusiastic about i lust aught that it was celaxng task that | could do without stressing, and in addon also give me a break from al the other stressful subjects a thet time. overall sor of enjoyed it Process undertook to Review and Refine each artwork: ‘As | oie each part ofthe pint ng (watercolo: EE, transfer, inkng, acyl) | abvays steppes back after about 20, minutes of working to examine what | did and what need to ade. For the watercolor, wien | aut the first base and fist shacow, | thoughtie was enough, but wher Isteapes back and asted for feedback I ealized | couls add more {etal so that’s what I, It gave me 2 mere cetaies interesting and bette’ outcome averll.| cid the same for EE and inking (hich I realized vat te ink would fads) s0 | tot lets of time to add mare and more, The same goes for acrylic. This isthe review anc refining arocess that lused. Wren Ives done with all the steps, [put it up and went to the backof the room, stared ati far around 5 minutes anc then addee wnatever i neeced to ade'that | seemed ft {more BE, ink, paint). di this for around 2-3 times ‘Te whet extent di the taking of photographs in your community influence your art mating process. 1100 lots of photos of windows and buileings, nd netieed a common festure: reflection. | lee already had the mindset of traitions things Facirg away to the medern styles, anc somthing mast modern bulidirgs have are windows (glass and steel concent) | rwalzee that windows and refection was a perfect axtion far fading and merging (the ‘onesptua|/eentemoarary par tht | can add to/my painting), So ever, the ahotograpns influenced my process it. COMPARA TIV HAMA IONALLY, ATS. CONUEAED, SRE TAL, STATO sense AS SPIRATUNL HMMA (HAT ttt wed & A GAME POL tRotecttin DCUoTiON. quteTIae, Taro IN MANE CUTE peveworeD (A FOLaN be fine POR IMIYALS, pRMOMETLY OF Vat, unr, CTC). 1S De HEAT. Set a SOT IWSHANTEY LeOUNAABUE MPL WL, TTS tte OLED To (miter SHAN. We (Ns AE WEST SO. TATICO) HeaWe A CIMA ELEMENT TUNE 4A TIO YD A TIONS, AND OOF CHOI He 4 WEFERENT MEANING, MOnEre, TUE jigs Wea VNNITTBAL (OU WN AND NT NINE ATE Wien. SATEEN [neue ed TUT CATO, FORA, TIGER, Li, SWARCE, PLLwtAld, ont (eetnan's) Heep yur ovate. eu THE: XO. Teed MRL Hive euOoWlOrhs THAT CAN vats Flor aston, ewer, Mat ect lon, Hemow a, LUCK, CHANME, FLUIDITY, = OL THe Kc ct REPEESEN TS DETER MIRON, STRENETH, UPAUE DERE Fal. = Suess au Were. TT PLM YRCOMCAL RORCLEN CE: THE (Ot {Wnt Whe KNOY To Arter Situ ptf nt” Ketan a” #6 “DeAUtnS Curt” ve aor gee MEH CULE luel He NED GH Tuto (to DRAOong.-= BEARS bacon to. tere, EL e* & NA he ee weet See! {ie (UU CAE ond A Mave, 1H NEM LOVE OF seen fine. 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